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This I Believe: George Clooney in Good Night, and Good Luck
He brings Edward R. Murrow to Broadway with righteousness intact.
Its protagonist Edward R. Murrow—the real and really heroic midcentury broadcast journalist who combined Jimmy Stewart levels of integrity with Gregory Peck straightness of spine—is never without his trademark Camel, all the way up to the silent “2… 1…” mouthed just before his CBS show goes live. But the haze isn’t just a period detail, a complement to the rolling lights and ribbon mics of Scott Pask’s meticulously researched set, and the spot-on profusion of pencil skirts and pinstripes in which Brenda Abbandandolo has costumed the cast. As Clooney advances in silhouette in front of the curtain to speak to us for the first time “about what is happening in our mass media,” the perfume of the era’s dissonance suffuses the space: the glamor and what it masks, the romantic melody and the bassline of greed, bigotry, and cruelty thudding away underneath.
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